There has always been, for me, this other world, this second world to fall back on--a more reliable world in so far as it does not hide that its premise is illusion.

All novelists must form their personal pacts in some way with the slowness of their craft. There are some who demand of themselves a 'rate of production,' for whom it's a matter of pride to complete, say, a book every year.

When anything goes digital, let alone something as immaterial as a book, there is a tendency to see it as just in the air to be taken, and to lose the sense that somebody once made it.

If people read 'Tomorrow' and feel that it is offering them some view of my own household, they would be very, very wrong.

Structure that really pays off is all based on emotion. I don't write down an elaborate plan. It's really done by feel. It's one area of my writing that I think I've got surer at as I've evolved. In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.

There has always been, for me, this other world, this second world to fall back on--a more reliable world in so far as it does not hide that its premise is illusion.

How quick and rushing life can sometimes seem, when at the same time it's so slow and sweet and everlasting.